Eric ClaptonS Complex Relationship with Cream: The song He Disdains Yet Defines Him
Did Eric Clapton truly grasp the essence of Cream? In 1966, he joined forces with bassist Jack Bruce and drummer Ginger Baker, inspired by a performance from his idol buddy guy in London. Eager to embark on a new journey in a blues-rock trio, Clapton left John Mayall’s bluesbreakers behind.
Though, he overlooked the fact that both Bruce and Baker came from robust jazz backgrounds. For them, Cream represented a groundbreaking fusion of jazz and rock, paving the way for future artists like Larry Coryell’s Free Spirits, Miles Davis, Frank Zappa, and clapton’s former collaborator, Jeff Beck.
“I viewed Cream as a jazz ensemble,” Bruce once remarked, “but we never let Eric in on the joke that he was really Ornette Coleman!”
The Jazz Influence in Rock
Much like a jazz band, Cream emphasized spirited improvisation during their live performances. Clapton, Bruce, and Baker introduced the concept of jamming to rock audiences, first in their concerts and later on albums such as Wheels of fire, Goodbye, and post-breakup recordings like Live Cream and Live Cream volume II.
Some of their most extended jams can be found in tracks like “Spoonful” (16:47) and “Toad” (16:16) from Wheels of Fire, and also “I’m So Glad” (9:13) from Goodbye. The live albums feature extraordinary renditions like ”N.S.U.” (10:13) and “Sweet wine” (15:15) from Live Cream, and “Steppin’ Out” (13:38) from Live Cream Volume II.
The Iconic “Crossroads”
Among their live performances, “crossroads” stands out as the most renowned jam. Featured on the second disc of the 1968 double album Wheels of Fire, this track was recorded during Cream’s concerts at San Francisco’s Fillmore and Winterland venues from March 7-10, 1968. The version of “Crossroads” recorded on March 10 clocks in at a concise 4 minutes and 18 seconds, making it one of the shorter live tracks in their repertoire.
For fans of Clapton’s electric guitar mastery, this track serves as a prime example of his skill.Over six verses, Clapton delivers some of the most emotive and memorable guitar lines in blues rock-far from mere showmanship, these solos resonate with listeners and can be easily recalled. Legendary guitarist Eddie Van Halen even learned Clapton’s solos from “Crossroads” note for note, underscoring their meaning.
The Mystery of the Longer Version
Wouldn’t it be interesting if a longer version of this iconic recording existed?
According to the late producer Tom Dowd, there might be. Dowd, who worked with Clapton during his time in Cream, as well as in his solo career and with Derek and the Dominos, shared insights in a 1985 interview with Guitar Player. He revealed a tantalizing possibility for Clapton enthusiasts.
“On the Wheels of Fire album, manny live tracks were ultimately shortened from their original performances,” Dowd explained. “We recorded two sessions in San Francisco over three days-one at Winterland and the other at the Fillmore.”
“For example, ‘Crossroads’ on stage was never shorter than seven to ten minutes. The solos between the verses were edited down, but there were no overdubs on any of the live albums.”
(Image credit: Michael Ochs Archives/Getty Images)
The Unresolved Debate
Despite Dowd’s assertions, no unedited recordings of the Winterland “Crossroads” have surfaced nearly 60 years later. additionally, other live versions from Cream’s farewell tour in autumn 1968 mirror the arrangement of the Wheels of Fire track, including Bruce’s acknowledgment of Clapton at the song’s conclusion. Performances from the L.A. Forum and San Diego Sports Arena in October 1968 also clock in around four minutes, similar to the Wheels of Fire rendition.
What lends some credence to Dowd’s recollection is a moment at 2:44 where Clapton appears to momentarily lose the beat, leading to a brief disarray among the musicians. Did they manage to recover seamlessly, or was this a result of editing to fit the song into a more digestible length?
Clapton himself seems to lean towards the former interpretation. In an interview with Dan Forte,he expressed uncertainty about Dowd’s claims but acknowledged that the band frequently enough teetered on the edge of chaos during their jams.
GUITAR PLAYER: “Cream’s live rendition of ‘Crossroads’ is frequently hailed as one of the finest live performances and guitar solos ever recorded. Was it edited from a longer jam?”
ERIC CLAPTON: “I can’t recall. I haven’t listened to it in ages-and honestly, I don’t notably like it. I sense something is off. I wouldn’t be surprised if we lost our way at that point in the song, as that happened frequently. I’d sometimes play the downbeat on the wrong beat, which created a strange hybrid sound that I never appreciated. If I hear the solo and realise I’m off, I can’t enjoy it. I think that’s what happened with ‘Crossroads.’ It’s interesting that we all managed to come back together, but it still bothers me a bit.”
(Image credit: Michael ochs Archives/Getty Images)
Interestingly, even Clapton himself is uncertain about whether the song was edited-despite being the one who performed it.
Perhaps there are elements of this story that remain undisclosed. If we entertain the idea that Dowd was correct and “crossroads” was indeed longer, it raises questions about why Cream chose to perform it in its shortened form during their farewell tour in autumn 1968. Perhaps they preferred the concise version or thought it would allow them to conclude their set more swiftly. By the time of this interview,Clapton could be forgiven for forgetting such details.
Ultimately, what stands out is Clapton’s lingering frustration. All guitarists would be fortunate to experience such a level of dissatisfaction. yet, Clapton never fully embraced his role in Cream, often feeling like an outsider. As Bruce noted in a 2012 interview with Guitarist, clapton envisioned Cream as a blues trio that would allow him to emulate his idol, Buddy Guy, while Bruce and Baker were intent on infusing their blues-rock with jazz-inspired improvisation.
The outcome of this unique collaboration is evident in their music. Irrespective of its length, “Crossroads” remains a testament to some of the finest guitar work in rock history.
